OxyKon

I have a few ideas but nothing from this year, I have some flavors from the last few years that will work, some of it not even hip hop, but more bass music

Wordpress is hell easy to use, had some help setting mine up but now it's great

You could also google basic HTML coding and it'll show you the basics

You’ve been killing it in small clubs everywhere—but now it’s time to step it up and play for thousands (okay, maybe hundreds) of people who may not know who you are, or are just out for a party. Here’s what you need to know to prepare for your first festival set and win over a ton of new fans. GET A READ ON THE CROWD Like any gig, it’s worth feeling out the crowd for a while before you go on. Hopefully you’ll be there well before your set—and why not? It’s a festival, after all—so give yourself some time to wander around and get the vibe of the place. Of course, playing a festival can mean that you’re put high up on a stage, away from the close connection you might be used to with club crowds. So getting a read on the crowd when you’re down in it is important. Our own Ean Golden suggests: PROVE YOURSELF EARLY Nina Kraviz playing to an early crowd at Movement 2012. Whether it’s your first or 50th time onstage at a festival, there’s a good chance you’re not the DJ everyone came to see (usually)—so you’re going to need to prove yourself to win over the crowd. And early—at most festivals there are as many musical options as there are carnival distractions, so get them under your thumb as soon as possible. “The crowd might not know who the hell you are, so you have to prove yourself within the first few tracks,” says Danny Clancy of London duo Krankbrother. That doesn’t mean breaking out your bangers right away (remember the basics of an opening set?), but make sure that your first few tracks are impeccable. “Concentrate more on the sweet spot of the crowd and try your best to reinstall that connection and certainly not worry about the people on the peripheral edges—they are only half-listening anyway,” says Berlin DJ and Sub:tance resident John Osborn. “If you build a good connection with the sweet spot of the crowd, it will grow, dragging in the peripheral half-listeners and turning them into full-on hands-in-the-air ravers, if you drop the right tunes at the right time,” says Osborn. TIGHTEN IT UP AND BRING THE PARTY Krankbrother, in party mode. It’s likely that whatever festival you’re playing, your set is going to be shorter than you’d usually prep for the club. “Festival sets are often shorter and during the day, and hopefully in the sun,” explains Osborn. “So the tracks I would select for a long four-hour set in winter in Panorama Bar just would not work in a sunny open-air field.” “At a festival, people have paid to have an amazing weekend,” says Clancy. “You have to play a big party set, and interact and party with the crowd.” Enough said—prepare to rock it however you can. Thanks to the shortened sets, multiple stages, and a wide range of distractions – no dj will have the rapt attention of a sun drenched crowd. Generally speaking this also means shorter mixes and quicker song transitions to keep people interested and present – especially in the US market where attention comes at a serious premium. PLAY IT SAFE—BUT NOT TOO SAFE Dave Aju, suiting up for festival season. Unless you’re playing some experimental festival (which you’re probably not), you’re tasked with keeping the party going. says Clancy. “A lot of the time you’re playing daytime, too, so we tend to go on a more house and disco vibe and keep it bumping. I’ve got a whole section in my music collection dedicated to festival sets—classic house tracks and proper party shit.” However, take some chances once you find your groove, as you don’t want to just sound like everyone else. “We usually find festival crowds far more forgiving than a club crowd—maybe less discerning and more up for it—so in our experience they can probably be an easier place to play than a trendy Berlin or London club,” adds Clancy. “If it is an extended multi-day festival, you have consider that people have heard and been exposed to many acts before yours,” says Dave Aju. “So prepare to do some unique things that make you stand out.” Whether that’s playing a crazy party track or actually doing something crazy on stage is up to you, but figure out what works for you and make sure to be original. “Likewise for DJ sets, in larger festivals with several stages there are many other DJs, and if everyone is playing the same tracks it can be quite boring for the audience, so stay away from the latest/greatest hits, unless you can make a special edit or exclusive remix to really personalize it somehow,” Aju proffers. Things can—and will—go wrong. The festival won’t have the adapter you need. It’ll start pouring the second you take the stage. A dust storm will pick up from out of nowhere. You’ve got two issues to think about here, so hopefully you’ve already taken care of the first one, which is protecting your gear. But do you have a suitable set ready for any and all weather conditions? Consider that when you’re organizing your tracks. “You have to keep them dancing even though it’s raining,” says Clancy. Just the same, if Arcade Fire is playing the main stage, you may end up playing to pretty much no one—but that’s no reason not to give it your all. You know what small, dedicated crowds are like from your club gigs, so veer in that direction and really show off what you can do for those few who stuck around to see you. RELAX, BE YOURSELF, AND HAVE FUN The Martinez Brothers taking charge at Movement 2012 Yeah, it’s the same advice that your mother gave you on your first day of high school—but who knows better than Mom, right? It’s not just the crowd that should be having a good time here. You’re all at the same festival, enjoying the sun (hopefully) and digging the incredible vibes that only outdoor gatherings can offer. “The atmosphere is totally unique at a festival and we love that,” says Clancy. “We also love grazing the amazing food stands at festivals before the show; you don’t get that at a lot of the gritty clubs we’ve played.” Plus, you might just find yourself at an otherworldly location, playing for a crowd you never dreamed of before. “We’ve played at Burning Man a few times and it’s pretty hard to top,” Clancy adds. “The locations are incredible. Playing in the desert surrounded by mountains and stars is completely unforgettable.” When it comes to festivals’ special atmosphere, everyone agrees, including Osborn: “It can be more relaxed, and when all the correct elements of the cosmos aligns itself correctly, the crowd energy can be more intense than any club!” Source: djtechtools.com

Harmony for Dummies: A Quick Guide to Adding Chords, Melodies, and Basslines in Key If you want to make your tracks more musical without knowing much about scales and harmony, then this tutorial is for you. This combination of tools and hacks will enable you to add chords, melodies, and basslines to your productions, in the right key and without much effort. Step 1: Find the Key of Your Audio If you already know the key of a sample or a song you want to remix, or, say, you build your melodies from scratch, you can skip this step. For the former, it’s possible that the key is noted in your sample’s file name (something like “C” or “Am”), or if, for example, you bought the track on Beatport, the key may be written into the track’s metadata. But if don’t know your audio’s key, and still want to add more sounds to it, you should find it out to keep your song’s harmonies in check. There are a number of programs out there to help you, including Mixed in Key, which is a pretty popular add-on that analyzes the harmonies and melodies of your music so that you can mix key-compatible tracks. In this guide, I will use a little freeware program called Keyfinder. It’s simple: Just open Keyfinder, drag and drop any amount of audio files into the window, and hit Run Batch Analysis. The key will appear on the right-hand side in a red box. So let’s say we choose a guitar sample in G-flat minor (Gbm). That’s all you need to know to go on to the next step. Step 2: Choose the Right Notes Now it’s time to choose the notes we want to use. Relax: No detailed knowledge of scales is needed, since we have Wikipedia. Seriously? Yep. All you need to do is download these images right here and here. One is for major scales, the other for minor scales. If your audio is in a minor key, it has a lowercase “m” at the end of its name, like in “Gbm” (aka G-flat minor). If there is just a letter (like “A” or “D”) and maybe an accidental (the sharp or flat symbols, # or , it’s a major one. Of course, there are more kinds of keys, but for most electronic music, these two will be all you need. Basically, every key consists of seven notes that you can play that will sound in-key. What you see in the left-hand column is the key (all of which are minor scales in this case, denoted by the lowercase “m”), and the rows show us each key’s corresponding notes, presented in a keyboard style. On top are, naturally, the names of the different notes. So basically, this graphic tells us which notes will work in a certain key. The notes with the numbers on them are the ones we want to use. If you start from scratch, and want to compose a lead synth, for example, you could just randomly pick one of these keys and play around with its corresponding notes. Or do it the other way around and play something first, then find out its key. If you don’t work with a MIDI keyboard, you can also open the piano roll in the DAW of your choice, draw in the right notes, and vary them. If we remember our guitar sample from step one, we can’t find “Gbm” anywhere in the graphic for minor scales. That’s not a problem, though: If you look at the note G-flat (Gb), you will see that it is the same as F-sharp (F#). That means for us Gbm = F#m. So what we want to do now is look at the row for the key F#m instead (again, in the red box). It works like this for all other flat ( notes. We know we can play the notes C#, D, E, F#, G#, A, and B with our guitar sample to stay in key, in any octave. Now just play around and create some awesome melodies! You’re safe—everything is in key. And if what you’re doing is creating a bassline, you’re done here, as basslines normally just use one note at a time. Step 3: Time for Chords Well, that was fun, but to really sound musical, you probably want to play more than one note at the same time—which is where chords come in. Try playing any combination of notes in a key from our graphics in step two, which will work in key—no dissonances (or off-key sounds) will occur. But we want more: Some combinations sound better than others, so it makes sense to play the “normal” chords for a start. But how? There are a couple of websites that are incredibly useful here. The first one, Keychord, just gives you chords according to a given key. Choose the key in the list on the left and get the basic chord. That’s cool, but normally you need a couple of chords to create a song (aka a chord progression). For that we have a second website, Autochords. Just tell Autochords what you want and it will give you the right progression of four chords, and even some fitting alternatives. Four chords are enough for most modern songs. First, choose a style (cliche, sad, etc.). Feel free to experiment here. Then choose an instrument. In most electronic music, piano might work best, but just play with it. Next, name your key, an accidental, and select major or minor. Boom—you have a chord progression in your key. Now simply draw these chords into your piano roll or play them out on your keyboard and manipulate them to your taste. You can do this by either hovering the cursor above the chord’s name, which will give you the notes it consists of, or by switching back to Keychord and choosing the chord. You can also go back and forth between both websites: Find the right chords on Autochords and then choose the same ones on Keychord with more notes to make it deeper or more complex. Find out what works best for you. With all these theoretical problems out of the way, nothing can stop you from creating great and harmonic tracks. Source: djtechtools.com

It may seem change at 1st if you're not used to a chat room, but nothing but good people and good times

That's some dedication

lol you and that fucking loop, nah we didn't get it working but i did figure out how to get it going, i've used it since and it's awesome

Enjoy dude, it's actually really cool

Run an aux to headphone jack cable from one of your mixer channels into the headphone slot of your computer, run another cable the exact same from the record out of the mixer to your digital in line of your computer

those cartridges look very nice

Welcome dude

Nek minute. Shaves his head like skrillex

Why don't you come over anyway, will be good for all of us to bounce ideas off each other

saw this yesterday, don't even know half the acts on this list

Yeah is a lot of good stuff, most of this is in rotation on my phone

Sounds like fun but shame I don't have any skills mixing hip hop properly

I paid $1000 each for my 1200 mk5's

I just use the standard technic ones that came with my 1200's which are quite loose, they work fine for me

Yeah it's master tempo

Lol

Depends on where and when you're doing it, in a club you need to read the crowd, if your just recording it for yourself then anything goes, I always try to make sure when I'm changing the genres up that I have a nice smooth transition, some track you'll find will change it up for you Eg. Track start off as electro breaks, after the 2nd break down it drops into dubstep, then you can go from there. I love experimenting with mixing hip hop into breakbeat which can usually be within the same bpm range. On New Years I did a 2hr set at a friends house party, started off at 80bpm hip hop and ended up at around 115bpm breakbeat, the crowd seemed to enjoy it

Tr@p iz da nu kraze

There's nothing wrong with it, when I started out DJ'n all the vinyl I bought had the bpm written on each side, you'll find as you get more experience you won't even have to worry about it